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1	Perspektivregeln und Bildgestaltung bei Piero della Francesca / Janhsen, Angeli, January 1990 (has links) Texte remanié de: Diss.--Bochum--Ruhr-Universität, 1987.
2	Um estudo das relações entre arte e ciência no Renascimento: a visão de Piero della Francesca sobre a perspectiva / A study of the relationship between art and science in the Renaissance: Piero della Francesca on perspective Moraes, Vagner Rodrigues de 26 March 2014 (has links) Made available in DSpace on 2016-04-28T14:16:19Z (GMT). No. of bitstreams: 1 Vagner Rodrigues de Moraes.pdf: 3264561 bytes, checksum: c94e1e1b101048a8bbd1c6e85a879f95 (MD5) Previous issue date: 2014-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study of the distortions created to represent three-dimensional figures in two-dimensional planes, as in paintings and frescoes, brought up the issue of how such distortions could be reduced from the optical, geometric and physiological points of view. Focusing on perspective as studied during the Renaissance by Piero della Francesca (c.1420 - 1492), this research aims to understand what the author meant by distortion and how he had solved it. Piero della Francesca was a painter and also an art theorist, who promoted changing in aesthetic principles. Besides, he conducted research on pictorial, geometric and architectural issues. Of all the treatises he had wrote, only three are conserved, on perspective (De Prospectiva Pingendi), on geometry (Libellus of Quinque Corporibus Regullaribus) and on arithmetic (Trattado d'Abaco). To achieve such responses we have used as documents, the critical edition made from Nicco-Fasola of De Prospectiva Pingendi and, as a secondary bibliography, books and articles about the society in which such theory was inserted, on the writings of optical and art developed in the fifteenth century, that Piero della Francesca, most likely, had accessed / O estudo sobre as distorções criadas ao se tentar representar figuras tridimensionais em planos bidimensionais, como em quadros e afrescos, trouxe a problemática de como se poderiam reduzir tais distorções do ponto de vista óptico, geométrico e fisiológico. Olhando para a perspectiva estudada durante o Renascimento por Piero della Francesca (c.1420 1492), pretendeu-se entender o que este autor compreendia por distorção e como a solucionou. Piero della Francesca foi pintor e destacou-se por apresentar uma postura revolucionária quanto aos princípios estéticos. Realizou investigações sobre questões pictóricas, geométricas e arquitetônicas. Dos tratados que escreveu, conservam-se apenas três, sobre perspectiva (De Prospectiva Pingendi), geometria (Libellus de Quinque Corporibus Regullaribus) e aritmética (Trattado d Abaco). Para alcançar as respostas à problemática citada no primeiro parágrafo foram usados como documentos a edição crítica aos cuidados de Nicco-Fasola de De Prospectiva Pingendi e, como bibliografia secundária, livros e artigos sobre a sociedade em que tal teoria estava inserida, sobre os escritos de óptica e de arte desenvolvidos e estudados no século XV, aos quais Piero della Francesca, muito provavelmente, teve acesso Piero della Francesca Perspectiva Óptica Distorção History of Science Perspective Optics Distortion
3	En drottning i många skepnader : Framställningen av drottningen av Saba i rollen som den "andre" / A queen in many guises : The depiction of the Queen of Sheba in the role as “the other” Johannesson, Arvid January 2022 (has links) The aim of this essay is to examine how the biblical Queen of Sheba has been depicted in a selection of artworks. The main focus is on how her otherness has been visualized, in relation to King Solomon in particular but also to the Western, European, christian and white self-image at large. The material that has been analyzed comprises the following artworks: Solomon and the Queen of Sheba by Nicholas of Verdun (1181), Procession of the Queen of Sheba; Meeting between the Queen of Sheba and King Solomon by Piero della Francesca (ca 1452-1466), The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana (1599) and The Visit of the Queen of Sheba to King Solomon by Edward Poynter (1890). In examining the artworks Erwin Panofsky's three- step analysis model has been applied in combination with a theoretical framework consisting of postcolonial studies and critical white theories. The results show that the Queen of Sheba has been depicted in a variety of ways. In the artwork by Nicholas of Verdun, the Queen is black, carrying the symbolic notion of sin; in Piero and Fontanas artworks she is depicted as white. In Piero's depiction, only small signals, such as clothes, marks her status as “the other”, in Fontanas case, her signs of otherness seem in contrast completely absent. Poynters artwork contains a spectacular display of exotic elements and the Queen has been given a sensual appearance in line with the image of the erotic Orient. One conclusion that the author reaches is that, as Edward Said has argued, in attempting to represent “the other” the Occident documents itself. This is also similar to how the dichotomy between black and white is constructed and how whiteness in relation to black individuals in these pictures gathers its strength and is, rather than being neutral, imbued with meaning. Art history Queen of Sheba King Solomon Nicholas of Verdun Piero della Francesca Lavinia Fontana Edward Poynter religious art otherness orientalism exoticism Art History Konstvetenskap
4	Uralt, ewig neu Hennewig, Lena 13 November 2020 (has links) Ausgehend von Oskar Schlemmers (1888-1943) Bauhaus-Signet aus dem Jahr 1923 analysiert diese Arbeit den Zusammenhang zwischen Mensch und Raum im Œuvre des Bauhaus-Meisters. Die bei Betrachtung des Signets aufkommende These, Mensch und Raum – die zwei tradierten Pole des Schaffens Schlemmers – bedingten sich gegenseitig, wird untersucht, hinterfragt und um die Kategorie der Kunstfigur erweitert. Das erste Kapitel beleuchtet den Menschen als Maß aller Dinge. Der angestrebte Typus entsteht einerseits über Schlemmers Analyse des menschlichen Körpers mittels tradierter Proportionsstudien und Geometrisierung, die zu einer zumindest scheinbaren Berechenbarkeit führen. Betrachtet werden hierbei die Ausführungen Leonardo da Vincis, Albrecht Dürers und Adolf Zeisings. Andererseits nutzt Schlemmer die physiognomischen Überlegungen Richarda Huchs und Carl Gustav Carus‘ für seine Zwecke der Darstellung einer Entindividualisierung des Menschen. Hierauf aufbauend befasst sich das zweite Kapitel mit dem Raum. Es zeigt, dass Schlemmers Überlegungen zu theoretischem und gebautem Raum ihren Ursprung in Albert Einsteins Relativitätstheorie nehmen und von Debatten am Bauhaus genährt werden: Schlemmer betrachtet den Raum als wandelbar und abhängig vom Menschen, was unter anderem durch eigene Schriften und den einzig überlieferten Architekturentwurf Schlemmers gefestigt wird. Zur Untersuchung einer umgekehrten Einflussnahme des Raumes auf den menschlichen Körper erweitert das dritte Kapitel die zwei tradierten Pole des Schlemmer’schen Œuvres um einen weiteren: die Kunstfigur. Diese, so belegt das Kapitel, generiert ihre eigene Körperlichkeit über den Einfluss des veränderlichen Raumes, darüber hinaus aber auch durch die Abstrahierung des zugrundeliegenden menschlichen Körpers mittels des Kostüms und der Maske. Über diese beiden wiederum vollzieht sich auch eine Wandlung des Menschen. / Taking the Bauhaus signet, designed by Oskar Schlemmer in 1923, as a starting point, the present thesis examines the relationship between man and space – the two consistently named poles of Schlemmer’s work – within the œuvre of the Bauhaus master. It analyzes, questions and expands the assumption, at first glance suggested by the signet, that space and man are mutually dependent: The first chapter deals with man as the measure of all things. The type pursued by Schlemmer results, on the one hand, from his analysis of man via proportion and geometric studies by Leonardo da Vinci, Albrecht Dürer and Adolf Zeising that lead to a certain calculability. On the other hand, Schlemmer uses physiognomic ideas of Richarda Huch and Carl Gustav Carus to depict a certain de-individualization. Based on the results of the first chapter, the second chapter deals with questions of space. It shows that Schlemmer’s considerations of theoretical space and architecture stem from Albert Einstein’s theory of relativity and are fed by Bauhaus debates on that same topic: Schlemmer regards space and architecture as subject to change and dependent on man; this theory is also strengthened by his writings and his only surviving architectural design. To examine the reverse influence of space on the human body, the third chapter adds the Kunstfigur (art figure) as another category to the established two poles of Schlemmer’s œuvre discussed in the literature: man and space. The chapter proves that the Kunstfigur generates its own corporeality through the influence of space, which is modifiable by movement. Besides that, said corporeality is also determined by an abstraction, in turn caused by costumes and masks. These items also influence the outer appearance of man. Oskar Schlemmer Leonardo da Vinci Der Vitruvianische Mensch Albert Einstein Carl Gustav Carus Richarda Huch Albrecht Dürer Adolf Zeising Franz Krause Joris-Karl Huysmans Bauhaus Mensch Raum Kunstfigur Typus Malerei Graphik Grafik Architektur Beuroner Kunstschule Piero della Francesca Japanische Architektur Das Triadische Ballett Oskar Schlemmer Leonardo da Vinci Vitruvian Man Albert Einstein Carl Gustav Carus Richarda Huch Albrecht Duerer Adolf Zeising Franz Krause Joris-Karl Huysmans Bauhaus Man Space Art Figure Type Painting Graphic Art Beuron Art School Piero della Francesca Architecture Japanese Architecture The Triadic Ballet 792 Bühnenkunst 740 Zeichnung, angewandte Kunst LI 80053 ddc:707 ddc:704 ddc:792 ddc:701 ddc:709 ddc:740

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